No.1 Neighbour: Art in Papua New Guinea 1956-2016

70 №1 NEIGHBOUR STORIES Mathias Kauage’s unique style explored the rapid social, cultural and political upheaval accompanying Papua New Guinea’s independence in 1975. The energy and vibrancy of his social commentary and his fascination with modes of transport and references to Papua New Guinea’s national institutions were carefully narrated through monochromatic drawings, screenprints, beaten copper panels and, later, acrylic paintings. With the advent of self-government in 1973, Papua New Guinea — like many other Pacific Island nations — underwent an accelerated period of growth in infrastructure, urbanisation and industry. With the fabric of everyday life being rewoven, a new type of artist emerged. These contemporary artists, unburdened by Western conventions, reinterpreted the unfolding cultural and social milieu. Breaking through predefined frameworks, they presented traditional customs and storytelling through innovative creative means, through media not derived from tradition. It was at the University of Papua New Guinea in Port Moresby in 1969 that Mathias Kauage was inspired by the first exhibition of works created exclusively by a Papua New Guinean artist, Timothy Akis. In a situation similar to Akis and other emerging artists, Kauage was introduced to Ulli Beier, a university lecturer, and his wife Georgina, who were both influential in the contemporary art and writing scene of Papua New Guinea in the 1970s. Seeing his potential, Georgina Beier was instrumental in encouraging Kauage to explore new media and to be more expressive in his choice of subject matter. Originally drawing insects, then creatures from myth and imagination, Kauage’s style quickly evolved to offer social commentary on the daily happenings in Papua New Guinea. His unique narrative style — with his Tok Pisin (pidgin English) statements handwritten in bold capital letters — provided personal insight into political events, as well as scenes of urban life in Port Moresby and village life in the Highlands. Figures representing the totemic bird of paradise, and animals and humans dressed in Chimbu bilas (body decoration) — their skin, fur and feathers engraved with motifs, chevrons and striations reminiscent of traditional designs found in the Highlands — further illustrated the relationship between narration and ornamentation, the traditional and the contemporary. The understanding of his own creative energy and vision saw his later works signed: ‘Kauage, Artist of PNG’. One of the founding fathers of contemporary art in Papua New Guinea, Kauage’s unique art was the result of an artist chronicling the history of a nation forging a new identity. For as long as I can remember, Kauage’s distinctive imagery has adorned everything in Port Moresby, from the facade of the National Parliament House to postage stamps and the walls of offices and public institutions; even my own home was festooned with sharp, vibrant figures, outlined in black, seemingly dancing in a whirlwind of colour, pattern and story. These motifs are so uniquely Papua New Guinean and so ubiquitously Mathias Kauage. MATHIAS KAUAGE Untitled (dancing woman and bird) 1969 Meri I draivim ka (woman driving car) c.1974 PP.72–3 Marbles 1988 Image courtesy: Andrew Baker Art Dealer THE ART OF MATHIAS KAUAGE KIRI CHAN